In 1966, I joined Kalakshetra after completing a gruelling five-year course under Smt. Uma Devi, an alumna of Kalakshetra. After my arangetram, my teacher insisted that I join Kalakshetra for further training. Training under her, learning the time-honoured items like the taxing Varnam and Thillana was so perfect that I could perform with my cousin without a rehearsal. When I joined, my initial few months was spent in polishing the posture and the adavus. I became aware of the finer points of eye movements, nuances and delicate flourishes of the wrist and shoulder, and the all important araimandi. I would get back to the ‘mirror’ cottage every afternoon and practice my adavus every day, without rest after lunch break. One afternoon, Kittu Anna as he was fondly addressed, came in wielding his thattukazhi threateningly, or so I thought. From that day for several months he took my class, one to one, encouraging me, explaining the importance of practicing three speeds and so on. His favourite word was ‘inhibition’. He immediately understood that I was timid and anxious to make the grade. He would repeat emphatically, do not have any inhibitions, be bold, you are working so hard, all will end well. I owe so much to Kittu Anna for his kindness, encouragement and the time he gave me.
Professor M. R. Krishnamurthy joined Kalakshetra when he was sixteen years of age with a three-year Government Scholarship under his arm. Blessed with an impressive personality, he dedicated himself to dance and was trained under Rukmini Devi. He was fortunate to get his foundation for Bharata Natyam, under great teachers like Sarada Hoffman, Smt. Vasantha Vedam, Smt. Jayalakshmi, Pushpa Shankar and Mylapore Gowri Ammal. He learnt Kathakali under the legendary Chandu Panikker Asan. Bhagavata mela Guru Balu Bhagavatar was resident in the campus and trained students like Krishnamurthy, Janardanan, Dhananjayan and Shankar Hombal.
He played major roles in the famous Kalakshetra dance-dramas. As Jatayu, Vibheeshana, and Sugriva in the Ramayana series, Brahmana in Rukmini Kalyanam and Shakuntala are some that come to mind immediately.
Born in 1936, his dance career continued to bloom after he left the institution to establish his own in Bengaluru. ‘Kalakshithi’ is his homage to his Guru Rukmini Devi. He dedicatedly follows all the tenets and values he had imbibed at Kalakshetra. He never wavered from the Kalakshetra Bani and continued to uphold the strict adherence to the technical perfection ingrained in him for decades. He demands the same discipline and perfection from his students. His sister Rukma Narain is the pillar of support for his career and is the backbone of Kalakshithi. The school campus is artistically designed by her and has a beautiful theatre space designed by her. The classy stamp of beauty and refined taste in the décor is evident everywhere.
The school recently celebrated 25 years and a few contemporary artistes and colleagues were honoured on this occasion.
He has presented his students in various platforms. His choreographic presentations in classic themes like Pancha Kanya, Rasa Vilasa, Gokula Nirgamana, and Akka Mahadevi.
He has been honoured with prestigious awards: Chandana Puraskara (2014), Attendance Rukmini Devi Award (2012), Natya Tapasvi (2001, Karnataka Kalashri(1998)
I met Kittu Anna this year (February 2018) to gift my book Bhagavata Mela My Tryst with Tradition. It was an emotional and nostalgic meeting. My heart was overflowing with gratitude to have trained under such a wonderful teacher.